Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Rachael Li
912103 Brooke Gibson + Studio 2
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM PANOFSKY Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) -The rules consist of firstly,a planar cross section through the so-called visual pyramid with its apex marked by the eye and individual points within the space are connected by lines converging at the apex forming “visual rays”. The relative position of “visual rays”determines the position of corresponding points in the picture. An intersection of the plan view and elevation view of this system will generate perspectival projection. -All perpendiculars or “orthogonals” meet at a central vanishing points determined by the perpendicular drawn from the eye (apex of pyramid) to the picture plane. -All paralells regardless of their directions have common vanshing point. -Equal dimensions diminish progressively as they recede in space to the background -Negates differences between front and back, right and left, bodies and intervening (empty) space. Produces a plane of contents that are seen not with a single fixed eye but with two constantly moving eyes. -Length of the projection is not the actual measurement due to foreshortening. -Vanishing point on the horizon line (corresponds with eyeline)
Question 2: Describe homogenous space? (Maximum 100 words) Homogenous space is geometric space produced by construction. All elements (the points that are joined by lines) within the homogenous space are mere determinations of position, possessing no independent content of their own outside of this relation. The points that constructed space are devoid of all content as they have become mere expression of ideal relations. Moreover, from every point in the homogenous space it must be possible to draw figures in all direction and magnitudes. The type of space consist of ‘central perspective’ revolving around two tacit but essential assumptions: first, we see with a single and immobile eye; second the planar cross section of the visual pyramid can pass for an adequate reproduction of our optical image.
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INVISIBLE CITY: Clarice
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OLD QUAD ISOMETRIC
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This is the Old Quad constructed in rhino and with line weights rendered so that the closer lines appear thicker than those that recede further. The lines of the vault are the thinnest so that it does not obstruct views of the quad’s interior composition.
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OLD QUAD ISOMETRIC WITH NOTATIONS
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This isometric view documents the shift in positions of Marco Polo as he maneuvers through the building from transitioning from dark to light. The symbol that I created shows the strength of the wind being greater in perspective 1 demonstrating the abandoned city with buildings in state of disrepair, hence the wind is able to blow directly into the building. In perspective 2, where the city undergoes rebirth, constructions of maintanence take place and the interior is rennovated with additions of windows and wall resisting wind but allows breeze to flow through.
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QUAD PERSPECTIVE 1 + 2 I have adjusted the perspective1 so that it will focus on one aspect of the story only without overlapping with the other perspective. This perspective is designed to capture the decadence of the city as part of its tormented history.
Perspective 2 frames a wholly different aspect of the story of Clarice --- the glory and prosperity of the ever evolving city, that after succumbing to its downfall, has experienced rebirth with its splendor restored again.
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PERSPECTIVE SCENE 1 + 2 I have chosen objects that will encapsulate the decadence/ downfall of a city after being emptied by plagues and became a ghost town before being populated by survivors that emerged from the basements and lairs. To represent the devastating condition of the abandoned city, I have included included broken objects that coincides with the story description: collapsing columns, cornices, capitals as well as statues in deteriorated state. The ceilings and walls look like they have been eroded by weathering and lacking maintenance. The glimpse of light that shines through the ceiling shows the poor state of the architecture as parts of it has collapsed and has holes in them. The other aspect is the repurpose of objects that were purely ornamental in the city’s glorious times. For example, the marble funerary urns becomes pots for the people to plant basils. Another key aspect that I have incorporate, which best captures the story is the use of shadows cast by the broken free standing statue. In this perspective, its own shadow is somewhat blocked by other obstruction, the shadow of the statue that existed in the glorious days (perspective 2) is perceived instead. This indicates that the city has not lost its former splendour despite the disastrous incidence but also in a way foreshadows the flourish and opulence that is to come.
This perspective marks the revival of the city after experiencing the tormented past. The objects show the burgeoning of the city transformed into one of joyous and sumptuous abode for many more new inhabitants. It seems that the old Clarice is starting to take place again. Again, the use of the shadow cast by the statue (visible as shadow in perspective 1) articulates the idea that despite the pride in its newly obtained wealth, the city is still at heart incongruous, alien to its old identity. While preserving its former beauty through encasing its artefacts (funerary urn) inside glass bell set on velvet cushion, the city will always be reminded of its dark history and will live under the shadow of its fragmentary existence. In order to demonstrate the ever-changing Clarice but being constantly reminded of its past, the other perspective is not visible in this one as they don’t overlap, it doesn’t mean that the two perspective are of different periods of time, they exist concurrently (this can be seen through the poor girl begging the wealthy man in the background, the same girl can be seen in perspective 1 but not showing who she is facing). Hence this suggests that my two perspective are not set in two different period of times but rather in the same time but perspective 2 shows the glamour that is perceived under daylight and perspective 1 reveals the dark, ugly side of the city hidden under daylight but revealed at night time when the direction of the light changes.
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WEEK 4 READING: MAPPING THE UNMAPPABLE: ON NOTATION
Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words) Autographic consists of art forms such as paintings and sculpture in which the authenticity are dependent on the direct contact of the author. Often used in architectural drawing such as perspectives, mapping and sketching. Allographic refers to art forms like music, poetry or theatre, their concepts of authenticity are described differently such that multiple copies can be produced without the direct intervention of the author and hence their content can be reproduced with the use of notation. Allographic practice is often used in architectural drawing such as plans, sections and isometric.
Question 2: Why do architects need new representational techniques? (Maximum 100 words)
The combination of graphic information with measurement, specification allows architectures to work within the complexity of the real and to engage the shifting field of the contemporary city. It forms a bridge between abstraction and reality. Following the advent of development of technological communication and advanced infrastructures, the old fashion way of defining a city with opening of gates, procession, parades, succession of streets and avanues are no longer applicable, such immaterial networks and system means that the architects lost the capacity to fix and determine the limits of urban space and must adopt new forms. The modernised city is shaped by visible and invisible (eg.effects of lights, shadows, transparency and changes in time, speed) streams of information, capital and subjects interacting in complex formations and in order to capture these a representation technique that engages with time and change, shifting scales, mobile points of view and multiple programs are needed.
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FINAL DRAWINGS Cities & Names 4: ClariCe As explained in the snapshot represented with my perspective, the two scene exist concurrently in the same period of time, the passage of time change marks the day and night difference where the night reveals the hidden dark side of the city reminding it of its past. I have given emphasis to the movement of Marco Polo in particular to document his reaction towards his surrounding and hence reflecting the utter difference in the two perspectives. Marco Polo enters from perspective 1 with his movement being hasty, uncertain shown with the faster pace, small steps pacing back and forth. The difficult steps represented by undulating arrows shows that he is always bending down trying to avoid hitting things and reflects that he is in a state of panic in the dark. Key Glance Contemplation (inspection) Regular View Faster pace Moderate pace Heavy mood (depressed) Light mood (relieved)
Heavy step Light step Small steps pacing back and forth
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Perspective 1
Perspective 2
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bol that I have added shows the wind to be stronger in a building of ruin stated with gaps and holes allowing wind to penetrate. In the other, perspective the wind is less strong as the interior is well furnished and mostly enclosed with small window openings. As Marco Polo proceeds to the scene depicted in perpective 2, his
Difficult Step (crouching and bending)
mood lightens with feelings of relief. Therefore his walks in moder-
Strong wind
ated pace with lighter steps. The direction of his movement is also
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All these reflect his terrified, and depressed mood. The wind sym-
Breeze Passage of time: day and night
more streamlined and regular comparing to the confusing circulation in perspective 1. The number of people start to increase as he walks closer to the other scene showing the place flourishing and being repopulated. Marco Polo’s travel involves many contemplation of his surrounding and conversing with inhabitants and survivors.
Perspective 1
Perspective 2 RACHAEL LI 912103
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